Category: 2020s

This category is a Vague Visages archive for movie, TV and music content from the 2020s.

About Vague Visages:

Mission: Vague Visages aims to publish high-quality writing about world cinema and culture. The site maintains a balance of indie and mainstream coverage, allowing for a unique blend of perspectives.

Origins: Inspired by the cinema movement known as La Nouvelle Vague, Q.V. Hough created an image-based blog called “Faces of the French New Wave” in 2014. For a creative twist, the site’s name quickly changed to “Vague Visages” (aka Wave Faces) in honor of French New Wave filmmakers and American indie filmmaker John Cassavetes (director of the 1968 film Faces).

Shift to Film Criticism: Q.V. moved Vague Visages from Blogger to WordPress in late 2014, using the French publication Cahiers du cinéma as a thematic model.

About Q.V. Hough:

Q.V. (Quinn) Hough is Vague Visages’ founding editor and a Rotten Tomatoes-certified film critic. After graduating from Concordia College (Moorhead, Minnesota) in 2004 with degrees in Communication-Mass Media, History and Classical Studies, he lived in Hollywood, California from 2006 to 2012. Q.V. worked closely with ABC On-Air Promotions as the production manager for LUSSIER. He previously co-hosted Concordia On-Air for three semesters before moving to Los Angeles.

In 2014, Q.V. founded Vague Visages. While developing the site, he wrote 600 video scripts and one e-book for WatchMojo (2014-17), along with 2,000 articles for Screen Rant (2018-21). Q.V. has also written for RogerEbert.com, Fandor and Crooked Marquee. He committed to Vague Visages full-time in August 2021.

E-Mail: qvh@vaguevisages.com

Twitter: @QVHough

Instagram: @QVHough

LinkedIn: @QVHough

An Interview with ‘Laapataa Ladies’ Co-Screenwriter Sneha Desai

By on

‘Laapataa Ladies’ Interview: Dipankar Sarkar discusses the 2023 movie with screenwriter Sneha Desai.

Coma Review - 2022 Bertrand Bonello Movie Film

Review: Bertrand Bonello’s ‘Coma’

By on

“‘Coma’ conjures up the spirit of 2020 like no other movie thus far. Through its unwieldy structure and genre delineation, Bonello’s film often feels every bit as disorienting as it was to scroll through social media timelines during the early stages of the COVID-19 pandemic.”